En Roma, el arquitecto Vitrubio diseñó el primer edificio estable dedicado al teatro: el teatro de Pompeyo.
En el Renacimiento italiano, arquitectos como Palladio, Scamozzi o Serlio contribuyeron con diseños de teatros y soluciones escenográficas.inspirados en la antigüedad clásica, como hemos visto en varios vídeos en clase.
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| Las tres soluciones escenográficas diseñadas por el arquitecto Serlio para la Tragedia, la Comedia y las obras pastoriles |
En el siglo XXI continúa esta tradición de la arquitectura investigando soluciones para usos escénicos:
El Teatro Dee y Charles Wyly diseñado por Rem KoolHaas y Joshua Prince-Ramus aporta ideas renovadoras en cuanto al edificio teatral y su flexibilidad.
En el siguiente vídeo, de las Ted Talks, uno de los arquitectos responsables expone su proyecto:.
Joshua Prince-Ramus cree que si los arquitectos hacen reingeniería de sus procesos de diseño los resultados pueden ser espectaculares. Hablando en TEDxSMU, Dallas, nos lleva a recorrer su fantástica re-creación del Teatro Wyly como gigante "máquina teatral" que se reconfigura a sí misma con sólo presionar un botón.
Timelapse
En este enlace (hay que ir a YouTube, ya que tiene la inserción desactivada) un vídeo en time lapse muestra la preparación para un montaje:
Más
Reseña en inglés de las principales características técnicas. Fuente.
The Dee and Charles Wyly Theatre features an unprecedented vertical organization that completely rethinks the traditional approach to theater design. For centuries, traditional theaters have been horizontally oriented around the performance chamber with “front of house” and “back of house” areas flanking either side and a fly tower above.
The Wyly architecture team instead envisioned a transparent four-sided performance zone at ground level that would blur the lines between inside and out, actor and observer, in a literal interpretation of the world as a stage. To create this vision on a small site within a tight budget, the architectural and structural teams pulled apart each individual theater program element; carefully examined usage, size, and adjacency requirements; then reassembled the pieces into an intricate vertical structural stack with “back of house” becoming “above house,” and “front of house” (including the lobby) becoming “below house.” This vertical rearrangement produced the desired 27-ft-high, fully transparent, structure-free, four-sided, ground-level performance zone but demanded the invention of a one-of-a-kind structural steel system.
To create the most flexible performance space ever, the building itself had to be able to move, adapt, and evolve. Through the application of advanced technologies – both newly developed and borrowed from other industries – the Wyly Theatre is a marvel of moving steel parts driven by engineering innovation. The audience chamber moves up, down, in, and out to create an unlimited number of performance configurations such as: proscenium, thrust, arena, traverse, studio theater, flat floor, bipolar, and sandwich.
The 27-ft-high proscenium arch – unmovable in most theaters – retracts straight up into an enlarged “super fly” area. Three-tiered steel balcony units (the largest weighing 120 tons) also move up and down, adding 180 additional seats upon demand then “disappearing” when not needed. The balcony units lower and lift into the super fly area and can adjust horizontally up to six feet based on stage configuration, as well as carry their own drawbridge floor and access stair units. A combination of moveable seating wagons and nine moveable platforms rise, fall, and rotate to accommodate stage arrangement or produce a totally flat, open floor. The orchestra pit rises and retracts below the performance floor into the three-level below-house area. Even the walls move, with two 10-ft-wide floor-to-ceiling glass panels pivoting to the outside. The resulting “bridge machine” can be completely refigured and offers true performance freedom. No other venue in the world can host an open-to-the-outdoors, flat-floor event in the afternoon and then intimate stage performance only hours later.
A traditional structural system could not have met the project’s unique and complex program goals. The requirements were strict: no structure could be inserted in the 90-ft by 90-ft ground-floor performance area; no structure could interfere with the negotiated above-house program areas; and only a minimal amount of structure could interrupt the ground-level transparency zone.
The answer was a unique “global frame” consisting of six perimeter columns, four of which incline dramatically and asymmetrically to touch down in precisely predetermined locations. A three-story-high steel belt truss augmented by smaller interior steel trusses fill out the global frame, minimizing vertical height while supporting a puzzle-piece assemblage of rooms so complex and interlocking that only one floor at the top of the belt is contiguous.
The vertical positioning of the belt truss optimizes the strength of the one contiguous floor. The intricate positioning of the belt truss/sloped column intersects supports 44-ft corner cantilevers and 90-ft clear spans at ground level, preserving views and column-free performance areas. Opposing building forces are addressed using strategic inclines rather than traditional (and intrusive) vertical braced elements, with dual-duty columns resisting gravity and wind loads. This minimalist yet highly effective structural solution produces a ground-floor performance area that accomplishes the architect’s goal of blurring the lines between audience and stage.
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